Austin Chronicle's Scores

For 6,162 reviews, this publication has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Being John Malkovich
Lowest review score: 0 Snow Dogs
Score distribution:
6162 movie reviews
    • 68 Metascore
    • 89 Critic Score
    The Marvel films have been accused of being repetitive in their structure; Infinity War bursts any conventions wide apart. This is a vast, truly epic endeavor, one that both brings the current MCU to a near-climax (wait for the so-far-untitled follow-up, due May 2019, for the ultimate resolution), and sets the future in motion.
  1. Noble intentions, ignoble results.
  2. Super Troopers 2 is a movie out of time and out of sync with comedy in 2018. It might have managed the success of its precursor, if only it had been released in 2002.
    • 78 Metascore
    • 89 Critic Score
    Sometimes the screen goes completely black as the film focuses solely on the audio component (Wilkerson’s voice). It has the sense of a confession, and made me wonder if this project is somehow an act of penance.
    • 68 Metascore
    • 67 Critic Score
    Not every aspect is as exquisitely structured as Terajima's bittersweet performance. An underlying subtext about reinvention never truly develops, and the idea of Lucy as Setsuko's alter ego stutters. But her performance, especially when matched by Minami's hard-sighing world-weariness, is nothing less than transfixing.
    • 66 Metascore
    • 67 Critic Score
    Lowlife is also far more bloodstained than Tarantino’s normal fare. Grisly isn’t the word: The entire effects and makeup team work overtime for some of the most splattertastic effects in any non-horror film since the bone-shattering, skull-squishing glories of "Brawl on Cell Block 99."
  3. Lean on Pete is a methodical and memorable film primarily because director Haight, adapting from Willy Vlautin’s novel, keeps a distance from his characters, never taking the easy route, and never, ever letting the movie enter the killing fields of the corny or cliched.
  4. What ultimately disappoints here, however, is the conventionality of the movie’s narrative arc, its mushy characterizations (as the cosmetic company heiress who befriends Renee, a squeaky-voiced Williams is utterly dispensable), and a rushed conclusion that ties up the loose ends with a sloppy bow that diminishes the movie’s message.
  5. The familiar narrative gambits of Finding Your Feet aren’t the problem here as much as their heavy-handed execution.
    • 70 Metascore
    • 78 Critic Score
    The magic of the film lies in Tucci’s eye for a sense of place – Paris in the Sixties.
    • 80 Metascore
    • 78 Critic Score
    If there's such a thing as observational comedy horror, this is it.
    • 67 Metascore
    • 78 Critic Score
    The influence of executive producer Alex Gibney is clear in the photography and editing (making Gibney-esque now officially a term of art), but he has his own adept, incisive skill in linking a truly global economic crisis in the making, threading the narrative all the way from rural China to Flint, Michigan.
    • tbd Metascore
    • 0 Critic Score
    Baja is just plain bad.
    • 84 Metascore
    • 100 Critic Score
    If Ramsay's 2011 melancholy masterpiece "We Need to Talk About Kevin" was about the consequences of caring too little, You Were Never Really Here is its polar opposite – a story of a man who cares so much that his soul is bleeding out of every pore.
  6. Despite its reliance on some overworked symbolism, the screenplay by David Tranter and Steven McGregor is smart. However, the intercut flash-forwards and flashbacks do little to aid our understanding or appreciation of the story, and seem like artistic frippery.
  7. Submergence – despite much lovesick gravitas from its two leads – never quite coalesces into the epic romance that it should. It fizzles when it should ignite, leaving the viewer with a palpable yearning for something other than a shrug.
  8. Refreshingly unsentimental and straightforward.
    • 45 Metascore
    • 67 Critic Score
    This crazy-gleeful adventure jumps between grisly and cartoonish.
  9. Inelegant but not uninteresting, Ramen Heads is a bronze contender at best.
    • 66 Metascore
    • 78 Critic Score
    Ismael’s Ghosts drops a number of seemingly disparate ingredients into a stew that ends up coalescing into a satisfying treat, full of surprises and flavors you wouldn’t expect.
    • 63 Metascore
    • 78 Critic Score
    The elegant emotional narrative is informed by their toxic relationships with their fathers.
  10. Well-paced and featuring a game cast, this is still a yawny yarn that steals outright from Hideo Nakata’s seminal "Ringu" and the more recent "It Follows," as well as several of Blum’s own prior productions.
    • 67 Metascore
    • 78 Critic Score
    Chappaquiddick portrays the “incident” with the delicate meticulousness of an autopsy – which is ironic because the body of Mary Jo Kopechne never got one.
    • 90 Metascore
    • 89 Critic Score
    With caustic wit and fantastic performances for all involved, the film is destined to be an anti-war classic.
    • 82 Metascore
    • 78 Critic Score
    Not that he lacks artistry. When he delivers on tension, it's not a jump scare, but a jarring sense of inevitability (another kinship to Shults' work). Every time there is a sound above a whisper, there is a payoff, and how Krasinski navigates between those two events is never less than enthralling – and, yes, tragic.
  11. A neon-drenched murder mystery – or is it? – for the selfie generation, set in the hipster hamlet of Silverlake. So it goes with this highly stylized slice of bad, black millennial noir, a post-mumblecore take on the shady underbelly of L.A. in which Los Angeles plays itself, very nearly upstaging the main characters’ plight.
    • 69 Metascore
    • 67 Critic Score
    What papers over any remaining cracks is the perfect casting of Hamm as the fixer turned business consultant dragged back into the morass. His raw charisma, and near-peerless ability to sweat martinis through a disheveled linen suit and still look stylish, sends the film's moral compass spinning – exactly as it should.
  12. The seductive scenery in this French film will sink its hooks into any hungering soul, and the window into the winemaking process it offers will stimulate the juices of any armchair oenophile. But the dramatic core of Cédric Klapisch’s Back to Burgundy is pure boilerplate.
    • 69 Metascore
    • 78 Critic Score
    If there's one error, it's that there are almost too many laughs. Cannon keeps the pace up, and some of the smart one-liners from the script by Brian and Jim Kehoe get stamped on in the race for the next gag.
    • 32 Metascore
    • 20 Critic Score
    With this latest thriller (comedy? My fellow audience members were laughing at scenes I highly doubt were intended to be funny) Perry implies that not only does she belong there, but she forged every link in her chains.

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